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Full text of "The dance music of Scotland : a collection of all the best reels and strathspeys both of the Highlands and Lowlands for the pianoforte. Sixth edition"

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in 2011 with funding from 

National Library of Scotland 



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THE GLEN COLLECTION OF SCOTTISH MUSIC 

Presented by Lady DOROTHEA Ruggles-Brise to 
the National Library of Scotland, in memory of her 
brother, Major Lord George Stewart Murray, 
Black Watch, killed in action in France in 1914. 

28th January 1927. 






THE 



DANCE MUSIC OF SCOTLAND 



A COLLECTION OF ALL THE BEST 



REELS AND STRATHSPEYS 



BOTH OF THE HIGHLANDS AND LOWLANDS 



FOR THE PIANOFORTE 



ARRANGED AND EDITED 



J. T. SURENNE. 



SIXTH EDITION. 



* OF SCOTLAND j 



EDINBURGH: 
WOOD AND CO., 49 GEORGE STREET. 



INTRODUCTION. 



This Collection contains two hundred and forty-five of the hest Eeels and Strathspeys of the 
Highlands and the Lowlands of Scotland, arranged expressly for the Pianoforte. The correct nota- 
tion of the tunes has been carefully attended to, and their harmonic arrangement is new. The tunes 
are distributed into sets of three, as they are generally danced ; that is to say, Eeel, Strathspey, 
Reel. The proper tempo of each tune is indicated according to Maelzel's Metronome. In some rare 
instances the key is changed in order to facilitate Pianoforte performance ; and in many of the tunes 
- the proper fingering of certain passages is marked. Several Dance-tunes are not included in this 
Collection, because they have become intimately associated with Songs by Burns and other Scottish 
Poets. These tunes, however, will be found in " Wood's Songs of Scotland," and also in " Wood's 
Melodies of Scotland without Words." To increase the usefulness and popularity of this Volume, 
the writer of the Introduction has given, from a scarce work, a complete description of all the true 
Highland Steps of the Eeel and the Strathspey, with their original Gaelic names. By means of that 
description, and of the numerous tunes given in this Collection, the dancing of Eeels and Strathspeys 
may be learned and practised by the families of Scottish settlers in the remotest parts of the globe. 



As this volume is devoted to the National Dance Music of Scotland, viz., Reels and Strathspeys, we think it unne- 
cessary to say much about other Dance Music which was brought hither from France or England. In the oldest 
Scottish Collections of manuscript music' we find Allemandes, Branles, Courantes, Gaillardes, Gavottes, Voltes 2 — 
dances derived by us from France, although not all of them of French origin— and along with these some Scottish dance- 
tunes and a few English ones. These MSS. show the preponderance of foreign dances and dance-tunes in Scotland at 
that time, and long before then at the Scottish Court, when Reels and Strathspeys were as yet only among future 
possibilities of fashion. 8 

Fifty years ago, the fashionable Dances taught in Edinburgh and other large towns in Scotland, were Minuets, 
Cotillons, Reels and Strathspeys, and Country -Dances. Now, with the exception of the Reels and Strathspeys, al] 
these Dances have disappeared and made way for the Waltz, the Polka, &c, &c. ; which last will, in turn, yield their 
places to some other saltatory novelties. But the Reels and Strathspeys have held their ground, manfully and 
womanfully, in both Scotland and England to this day ; and we are not sure that they have not, of late years, found 
their way even to France, that soil of all soils the most bedanced by merry lads and lasses. The high popularity of 
the Reel and the Strathspey, all over Great Britain, induces us to dwell more particularly and minutely upon these 
Dances, which are really the only National Dances of Scotland ; all our other Dances of ancient or modern times 
having been derived by us from France or from England. 

In the Collection of Highland Airs, published in 1781 by the Rev. Patrick M'Donald, 4 he mentions (in the Preface) 
some particulars regarding the manner in which these airs are sung or played by the natives. " The slow plaintive 

1 The Straloch, and Skene, and Rowallan, and Leyden MSS. See List appended to this volume. 

2 The Volte was anciently a common dance in Provence, and was originally the Italian Volta. It somewhat resembled the Modern Waltz. 
For a description of " La Volta," and of various other dances of the sixteenth century, see Sir John Davies' poem on Dancing, written about 
1590. Byron's bitter attack upon the Waltz is well known. 

3 It will be seen afterwards that these Scottish Dances were much in vogue fifty years ago, and were taught at the Court of England Hei 
Majesty Queen Victoria, on first visiting the Highlands, was much struck with these dances, and has since patronized them. 

4 See No. 24 of List given in this volume. 



IV INTRODUCTION,,. 

tunes are sung by the natives in a wild, artless, and irregular manner. Chiefly occupied with the sentiment and 
expression of the music, they dwell upon the long and pathetic notes, while they hurry over the inferior and con- 
necting notes in such a manner as to render it exceedingly difficult for a hearer to trace the measure of them. 
They themselves, while singing them, seem to have little or no impression of measure." (P. 2.) As his work is 
now rare, we subjoin what he says regarding the Harp Music of the Highlands. " The Airs above-mentioned, and 
others of similar structure, are valuable, as probably being the most genuine remains of the ancient Harp 
Music of the Highlands. This was once the favourite music in the Highlands of Scotland, as it has long con- 
tinued to be in Ireland. The fate, however, which it has experienced in the two countries, has been very different. 
In Ireland the harpers, the original composers and the chief depositaries of that music, have, till lately, been uniformly 
cherished and supported by the nobility and gentry. They endeavoured to outdo one another in playing the airs 
that were most esteemed, with correctness, and with their proper expression. Such of them as were men of abilities, 
attempted to adorn them with graces and variations, or to produce what were called good sets of them. These were 
communicated to their successors, and by them transmitted with additions. 1 By this means the pieces were pi-eserved, 
and so long as they continued in the hands of the native harpers, we may suppose that they were gradually 
improved, as whatever graces and variations they added to them, were consistent with, and tending to heighten and 
display the genuine spirit and expression of the music. The taste for that style of performance seems now, however, 
to be declining. The native harpers are not much encouraged. A number of their airs have come into the hands 
of foreign musicians, who have attempted to fashion them according to the model of the modern music ; and these new 
sets are considered in the country as capital improvements. The Lady in the Desart, as played by an old harper, 
and as played according to the sets now in fashion, can hardly be known to be the same tune. It is now abundantly 
regular in its structure ; but its native character and expression, its wildness and melancholy, are gone- The varia- 
tions are such as might have been composed at this day in Italy or Germany. In the Highlands of Scotland, again, 
the harp has long ceased to be the favourite instrument ; and, for upwards of a century, has been seldom heard. 
The encouragement of the people has been transferred to the bagpipe, an instrument more congenial to the martial 
spirit of the country. In consequence of this, many of the pieces that had been originally composed, and had been 
chiefly performed or accompanied by the harpers, are irrecoverably lost ; and those which have been preserved by 
tradition, may naturally be supposed to have been gradually degenerating. "—P. 3. 

" A considerable number of the airs contained in this first division 2 are what the country people call Luinigs, and 
are sung when a number of persons are assembled, either at work or for recreation. They are generally short ; their 
measure is regular, and the cadences are distinctly marked. Many of them are chorus songs. Particular parts of 
the tune are allotted to the principal singer, who expresses the significant words ; the other parts are sung in chorus 
by the whole company present. 3 These pieces being simple and airy, are easily remembered, and have probably 
been accurately preserved." 

In the Dissertation 4 prefixed to the same Collection, Mr. Young tells us that the people of St: Kilda, at the close 
of the fishing season, when they have laid up their winter store, meet together rejoicingly in the store-house, and there 
sing and dance to one of their best reel tunes, (p. 9.) He mentions also the luinigs and the iorrums, or boat-songs 
of the men, to which they keep time with their oars when rowing, (p. 10.) " The St. Kildians too are very fond of 
music. Being great lovers of dancing, they have a number of reels, which are either sung or played on the Jew's 
harp, or trump, their only musical instrument. One or two of these sound uncommonly wild, even to one that can 
relish a rough Highland Reel. Some of the notes appear to be borrowed from the cries of the sea-fowl which visit 
them at certain seasons of the year, and are considered as their benefactors. Their elegiac music is in a better strain, 
pathetic and melancholy, but exceedingly simple. Like the other peculiarities of the Highlanders, the custom of sing- 
ing these songs regularly at work is declining apace, especially in the eastern countries and the districts which have 
much intercourse with the Lowlanders. Yet, less than a century ago, it was practised by their forefathers. However 
wild and artless some of the luinigs may be, and however ill others of them are sung by the common people, yet a number 
of beautiful original ones may still be collected in the Highlands. The greater part of them appear to be adapted to the 
harp, an instrument which was once in high estimation there." — (Ibid., p. 11.) Giraldus Cambrensis, 5 who visited 

1 This is quite opposed to Bunting's strange assertion, that the oldest Irish airs were preserved by tradition unchanged, through a series of 
generations of harpers. 

2 Chiefly from Ross-shire and Sutherlandshire. 

s These songs appear to have some analogy to those of the Faroe Isles mentioned at p. 8 of Introduction to " Wood's Vocal Melodies of 
Scotland without Words." Mr. Robert Jamieson, the editor of the " Northern Antiquities," intended to procure from Orkney the popular melody 
or chant to which the Norse Song of " The Weird Sisters," which the Orcadians call " The Enchantresses," was commonly sung ; all traces of it 
having long since been lost in Scandinavia. We know not whether he did procure that melody. 

4 Written by the Rev. Walter Young, afterwards D.D. He became Minister of Erskine in Renfrewshire in 1772, and died at an advanced 
'ice on 6th August 1814. 

* Gir. Cambr. Topog. ITib., lib. ii. c. ii. 



INTRODUCTION. V 

Ireland about the year 1185, gives a curious account of the skill of Irish harpers, and mentions that the Scots and 
Welsh learned their art from the Irish, and that, in the opinion of many, the Scots far excelled the Irish. John Major 1 
tells that in the fifteenth century the Irish and the Scottish Highlanders were the most eminent harpers then known. 
Mr. Young says,—" But beyond all memory or tradition, the bagpipe has been the favourite instrument of that 
people, (the Highlanders.) The large bagpipe is their instrument for war, for marriage or funeral processions, and 
for other great occasions. They have also a smaller kind upon which dancing-tunes are played. In their hours of 
merriment and relaxation, young people of both sexes danced with great alacrity to a species of wild airy tunes, the 
nature of which is universally known."— Ibid., p. 12. Mr. Young states, that " that peculiar species of martial music, 
the pibroch or cruineachadh, was sometimes sung, accompanied with words, but more frequently performed on the 
bagpipe." " The contrast between the pipe and the harp tunes is so striking, that one could hardly imagine them to be 
the music of the same people. Indeed, none of the luinigs is adapted to the bagpipe." 5 — Ibid., p. 13. 

Besides the modern Irish Bagpipe, which has the softest sound of all Bagpipes, the Irish claim for themselves an 
ancient Bagpipe, large and loud, of the same kind as our Scottish Highland one. Bunting states that the large Bag- 
pipe was the proper military musical instrument of the Irish in the fifteenth century, and Mr. Petrie, the Irish anti- 
quary, informs us that the bagpipe is often mentioned in Irish poems, varying in date between the tenth and sixth 
centuries. 

For many years the Violin has taken place of the Bagpipe in most parts of Scotland, for playing of Reels, Strath- 
speys, and other Highland dance-tunes. Captain Simon Fraser, in his Collection of Highland Airs, mentions that 
Grant of Sheugly, who was a poet and a player on the violin, bagpipe, and harp, gave the preference to the violin for 
Dance Music. 3 Neil Gow and his sons greatly promoted the use of the violin for the Dance Music of Scotland. 

Francis Peacock, who published the Collection of Scottish Airs cited in No. 20 of the List given in this volume, 
was an eminent Dancing-Master in Aberdeen, and died there in June 1807, aged 84, leaving a considerable bequest 
of money to the charitable institutions of that town. In 1805, he published " Sketches relative to the History 4 and 
Theory, but more especiaUy to the Practice of Dancing," &c, &c, 1 vol. 8vo, pp. 224. Aberdeen, Angus and Son : 
London, Longman and Co. : Edinburgh, Archibald Constable. As that volume contains some curious information 
regarding the Dance Music and Dances of Scotland at that time, and is now very rare, we quote the following 
passages from it, leaving our readers to make due allowances for the author's professional enthusiasm in some par- 
ticulars. It is worth while to record what these National Scottish Dances really were half a century ago. 5 

" Sketch V. Observations on the Scotch Reel, with a description of the fundamental steps made use of in that 
Dance, and their appropriate Gaelic names. — The fondness the Highlanders have for this Quartett, or Trio, (for it is 
either one or the other,) is unbounded ; and so is their ambition to excel in it. This pleasing propensity, one 
would think, was born with them, from the early indications we sometimes see their children shew for this exercise. 
I have seen children of theirs, at five or six years of age, attempt, nay, even execute some of their steps so well as 
almost to surpass belief. I once had the pleasure of seeing, in a remote part of the country, a Reel danced by a herd 
boy and two young girls, who surprised me much, especially the boy, who appeared to be about twelve years 
of age. He had a variety of well-chosen steps, and executed them with so much justness and ease, as if he 
meant to set criticism at defiance. Circumstances like these plainly evince that those qualities must either 
be inherent in the Highlanders, or that they must have an uncommon aptitude . for imitation. Our Colleges 
draw hither,s every year, a number of students from the Western Isles, as well as from the Highlands, and 
the greater part of them excel in this dance ; some of them indeed in so superior a degree, that I myself have 
thought them worthy of imitation. I mention these circumstances with no other view but as an introduction 
to what I am about to offer in relation to the steps most used in the Scotch Reels. To those who already know 
them, all I mean to say will be useless ; but to others who have been wanting in opportunities of seeing this dance 
well performed, a description of the steps best adapted to those lively tunes, which have obtained the name of the 
dance to which they gave birth, may not, upon the whole, be unacceptable ; especially as it is no uncommon thing at 
Edinburgh to see men of our profession, who come there with no other view but to acquire a knowledge of the proper 
steps made use of in that dance. It is not long since two of them (father 7 and son) came from London to Edinburgh 
for no other purpose ; and, as they had their own carriage, it may be presumed they must have been men of some 
reputation in their profession. They made application to the most fashionable teacher of dancing in that place, but 

1 De Gest. Scot., lib. vi. 

2 In the note on the Bagpipe which we furnished to Mr. Dauney for his Dissertation, p. 125, we show that, in old writers, the word " chorus" 
often meant a " bagpipe." 

5 See note on No. 3 of Captain Fraser's Collection, and also note at page 51 of the third volume of " Wood's Songs of Scotland." 

i Any one who wishes to involve himself in the inextricable mazes of discussion regarding the dances of the Ancients, may find ample 
materials for his confusion in the writings of learned commentators upon the classics. 

6 We are indebted to Mr. James Davie, the well-known Teacher of Music in Aberdeen, for a perusal of this rare volume. 6 To Aberdeen. 
" We are informed that these two Dancing-Masters were, most probably, Mr. Jenkins and his son. Jenkins was a native of Inver, near 

Dunkeld — went to London to teach dancing — became Court Dancing-Master, and made a large fortune. 

8 This must have been either Strange, or Rkhard Barnard, the owner of " Barnard's Rooms. " Thistle Street, or his successor Andrew Laurie 



VI INTRODUCTION. 

as he was then tuu busy preparing for a ball to be of much use to them himself, he recommended them to my partner, 
who happened to be then at Edinburgh. On his return, he told me that (their time as well as his own being limited) 
he attended them two or three times a day during their stay there. I mention this circumstance as a proof of what 
importance they thought a right knowledge of the dance might be to them on their return to London. Before I 
attempt to describe the principal steps made use of in Scotch Reels, it may be proper first to premise that I have 
used my best endeavours to ascertain their Gaelic names, and have reason to think I have been successful in my 
inquiries. And here I am prompted by gratitude to acknowledge my obligations to a literary friend (well versed in the 
Gaelic language) who has obligingly favoured me with the etymology of the terms, or adopted names of the steps I 
am about to describe. These terms may be of use to the master, as they serve to distinguish the different steps from 
one another, and may induce a degree of speculation in the philologist. Those who have acquired a little knowledge 
of music, and are acquainted with Reel and Strathspey tunes, cannot but know that they are divided into two parts, 
each consisting of four bars, which severally contain four crotchets, or eight quavers ; and that in the generality of 
Strathspeys, the notes are alternately a dotted quaver and a semi-quaver, the bar frequently terminating in a crotchet' 
This peculiar species of music is, in many parts of the Highlands, preferred to the common Reel ; on the contrary, the 
latter, by reason of its being the most lively tune of the two, is more generally made choice of in the dance. I have 
further to remark that, for the purpose of distinguishing steps, many of which do not materially differ but in their 
number of motions, I make use of the previous terms, Minor, Single, and Double. The first (Minor) is when it 
requires two steps to one bar of the tune ; the second (Single) is when one step is equal to a bar ; and the third (Double) 

is when it requires two bars to one step. Of the Steps 1. Kemshoole? or Forward Step. This is the common step 

for the promenade, or figure of the Reel. It is done by advancing the right foot forward, the left following it behind ; 
in advancing the same foot a second time, you hop upon it, and one step is finished. You do the same motions after 
advancing the left foot, and so on alternately with each foot during the first measure of the tune played twice over ; 
but if you wish to vary the step, in repeating the measure, you may introduce a very lively one by making a smart 
rise, or gentle spring forward upon the right foot, placing the left foot behind it; this you do four times, with this 
difference, that instead of going a fourth time behind with the left foot, you disengage it from the ground, adding a hop 
to the last spring. You finish the promenade by doing the same step, beginning with the left foot. To give the step 
its full effect, you should turn the body a little to the left when you go forward with the right foot, and the contrary 
way when you advance the left. 2. Minor Eemkossy? Setting or Footing Step. This is an easy familiar step, much 
used by the English in their country -dances. You have only to place the right foot behind the left, sink and hop upon 
it, then do the same with the left foot behind the right. 3. Single Kemk6ssy, Setting or Footing Step. You pass the 
right foot behind the left to the fifth position, making a gentle bound, or spring, with the left foot, to the second posi- 
tion ; Sfter passing the right foot again behind the left, you make a hop upon it, extending the left toe. You do the 
same step by passing the left foot twice behind the right, concluding, as before, with a hop. This step is generally 
done with each foot alternately, during the whole of the second measure of the tune. 4. Double Kemk6ssy, Setting 
or Footing Step. This step differs from the single Kemkossy only in its additional number of motions. You pass 
the foot four times behind the other before you hop, which must always be upon the hindmost foot. 5. Lematrast, 4 
Cross Springs. These are a series of Sissonnes. You spring forward with the right. foot- to the third or fifth posi- 
tion, making a hop upon the left foot, then spring backward with the right, and hop upon it. You do the same with 
the left foot, and so on, for two, four, or as many bars as the second part of the tune contains. This is a single step ; 
to double it, you do the springs forward and backward four times before you change the foot. 6. Seby-trastf Chas- 
ing Steps, or Cross Slips. This step is like the Bahtte. You slip the right foot before the left ; the left foot behind the 
right ; the right again before the left, and hop upon it. You do the same beginning with the left foot. This is a 
single step. 7. Aisig-thrasdf Cross Passes. This is a favourite step in many parts of the Highlands. You springs 
little to one side with the right foot, immediately passing the left foot across it ; hop and cross it again, and one step 
is finished ; you then spring a little to one side with the left foot, making the like passes with the right. This is a 
minor step ; but it is often varied by passing the foot four times alternately behind and before, observing to make a 
hop previous to each pass, the first excepted, which must always be a spring or bound ; by these additional motions 
it becomes a single step. 8. Kem-Badenoch, a Minor Step. You make a gentle spring to one side with the right 
loot, immediately placing the left behind it ; then do a single Entrechat, that is, a cross caper, or leap, changing the 
situation of the feet, by which the right foot will be behind the left. You do the same, beginning with the left foot. 
By adding two cross leaps to three of these steps, it becomes a double step. 9. Fosgladh, 1 Open Step. Slip the feet 
to the second position, then, with straight knees, make a smart spring upon the toes to the fifth position ; slip the 
feet again to the second position, and do a like spring, observing to let the foot which was before in the first spring, 
be behind in the second. This is a minor step, and is generally repeated during the half or the whole measure of the 
tune. 10. Cuartag* Turning Step. You go to the second position with the right foot, hop upon it, and pass the left 
behind it ; then hop, and pass the same foot before. You repeat these alternate passes after each hop you make in 
going about to the right. Some go twice round, concluding the last circumvolution with two single cross capers. 
These circumvolutions are equal to four bars, or one measure of the tune. Others go round to the right, and then 

1 Here Mr. Peacock gives a note upon the resemblance of this rhythm with that of the Ossianic poetry, which we need not quote. 

- "Or, according to its established orthography, CCumsiiibhail, from Ceum, a step, and siubhal, to glide, to move, to go on with rapidity." 

3 " CSum-coisiche, from Ceum, a step, and Coiseachadh, to foot it, or ply the feet." 

* " From Ltum, a leap, a spring, and Trasd, across." 

6 "From Siabadh, to slip, and Trasd, across." 6 "From Aiseaff, a pass, and Trasd, across." 7 " An opening." 

■ " From Cuairt, a round, a circumvolution." 



INTRODUCTION. 



VII 



to the left. These, also, occupy the same number of bars. — Combined or Mixed Steps. These are an association ol 
different steps, and which are necessary to add variety to the dance. For example ; you may add two of the sixth 
step (Seby-trast) to two of the third, (Single Kemk6ssy.) This you may vary by doing the first of these steps before 
instead of behind ; or you may add two of the second step (Minor Kemkossy ) to one Single Kemk6ssy. These steps 
may be transposed, so that the last shall take the place of the first. Again : two of the sixth step (Seby-trast) may 
be added to the fourth step (Double Kemk6ssy) in going to either side. Another variety much practised is to spring 
backward with the right foot, instead of forward, as in the fifth step, and hop upon the left ; then spring forward, and 
again hop upon the same foot, and add to these two springs one Single Kemk6ssy, passing the right foot behind the 
left. You do the same step, beginning it with the left foot. In short, without particularizing any other combinations, 
I shall only add that you have it in your power to change, divide, add to, or invert the different steps described, in 
whatever way you think best adapted to the tune, or most pleasing to yourself." — Sketch V. pages 85-98. 

We have added to this Introduction some curious foreign dance-tunes, which cannot fail to be interesting to 
Musicians. Among these tunes are some remarkable ones of Auvergne that were promised in the Introduction to 
"Wood's Melodies of Scotland without Words," just published. 

Peasants' Dance in the District of Bergen in Norway. 
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INTRODUCTION. 



Norwegian Dance-Tune. 




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Dance-Tune of Lower Brittany. 



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INTRODUCTION. 



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The following Dance Airs of the mountains of Auvergne were given by the Honourable George Onslow in his 
Violin Quartetts, op. 10. 

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X INTRODUCTION. 

Italian Peasants' Dance. Given by the celebrated Violinist F. M. Veracini. He visited London in 1714, and 
again in 1736. 



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In Alsace, on the Lower Rhine, there is a district named Kochersberg, the inhabitants of which differ entirely 
from their neighbours in manners and customs, and in their dances. The tunes of these dances have a well-marked 
measure of five times, and the tradition of the country assigns to them a very remote antiquity. The following is one 
cf them, as given by A. Reicha. See his " Trente-Six Fugues." 




G. F. GRAHAM. 



MANUSCRIPT COLLECTIONS CONTAINING SCOTTISH MELODIES. 



SKENE MS. — Belongs to the Library of the Faculty of Advocates. Supposed by the eminent antiquary, David Laing, 
Esq. of Edinburgh, to have been written about thirty or forty years after the commencement of the seventeenth 
century. It is written in Tablature for the Mandora, and was translated into modern musical notation by Mr. G. F. 
Graham, and the translation published, with a Key by Mr. Graham to the Tablature, and with a Dissertation, &c, 
by the late William Dauney, Esq., Advocate, in one vol. 4to, at Edinburgh, November 1838. It contains a number 
of Scottish airs, besides foreign dance-tunes. Mr. Laing says that the Collection was formed by John Skene of 
Hallyards, in Mid-Lothian, the second son of the eminent lawyer, Sir John Skene of Curriehill. 

STRALOCH MS.— Robert Gordon of Straloch's MS. Lute-book, dated 1627-29. The oldest known MS. containing 
Scottish airs. The original MS. is a small oblong 8vo, at one time in the library of Charles Burney, Mus. Doc. ; then 
in that of the late James Chalmers, Esq. of London, after whose death it was sold with his other books and MSS. 
In January 1839, it was sent by Mr. Chalmers to Mr. David Laing of Edinburgh, for his inspection, and by Mr. 
Laing to Mr. G. F. Graham of Edinburgh, who had permission to copy it, and to translate and publish it. Mr. 
Graham made extracts from it of all the Scottish airs which it contained, and presented these extracts for preserva- 
tion to the Library of the Faculty of Advocates, Edinburgh, on 26th November 1847. Some account of Robert 
Gordon of Straloch, who was a distinguished person in his day, will be found in the Introduction to " Wood's Songs 
of Scotland," vol. i. p. iv. 



COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. XI 

3 ROWALLAN MS.— A MS. Lute-book, written by Sir William Mure of Rowallan, who died in 1657, aged 63. It 
was probably written about the same time as the Stralocb MS., and was a few years ago in the possession of Mr. 
Lyle, Surgeon at Airth. Its contents are chiefly foreign dance-tunes, with a very few Scottish airs. Sir William 
Mure was distinguished as a scholar and a poet. See " Historie and descent of the house of Rowallane," from th« 
original MS. by Sir William, edited by the Kev. Mr. Muir, Glasgow, 1825 ; and " Ancient Ballads and Songs," by 
Thomas Lyle, 1827. 

4. LEYDEN MS. — Belonged to the celebrated Doctor John Leyden. It is now in the possession of Mr. John Telfer, 

Schoolmaster, Saughtrees, Liddesdale. It is written in Tablature for the Lyra-viol, and was sent, in 1844, to Mr. 
6. F. Graham of Edinburgh, with permission to transcribe and translate from it. The transcript which Mr. 
Graham made from it, of all the tunes in Tablature, was presented by him, for preservation, to the Library of the 
Faculty of Advocates, Edinburgh, on 26th November 1847. Its date is uncertain, but cannot be earlier than 
towards the close of the seventeenth century, since we find in it, " King James' March to Ireland," and " Boyne 
Water," both relating to events in 1690. It contains a number of Scottish tunes, some of which have been referred 
to in the Notes to " Wood's Songs of Scotland," in 3 vols., published in 1848-49. 

5. GUTHRIE (?) MS. — A number of Scottish and other tunes, in Tablature, discovered by David Laing, Esq., in a 

volume of Notes of Sermons preached by James Guthrie, the Covenanting minister, who was executed in 1661, for 
declining the jurisdiction of the King and Council. See Mr. Dauney's Dissertation, pp. 139-143. It is very 
doubtful when these tunes were written, and whether they were written by the same person who penned the rest of 
the volume. 

6. BLAIKIE MSS. — The late Mr. Andrew Blaikie, Engraver, Paisley, was in possession of two volumes written in 

Tablature, each containing a number of Scottish airs. One of these volumes was dated 1683, and the other 1692 ; 
the latter in Tablature for the Viola da Oamba. The former was lost, but contained, with few exceptions, only the 
same tunes as the later volume. Both MSS. were written in the same hand. See Mr. Dauney's Dissertation, 
pp. 143-146. 

7. CROCKAT MS. — This MS. Music-book is frequently referred to by Mr. Stenhouse in his Notes on Johnson's 

Museum. It is dated 1709, and belonged to a Mrs. Crockat, of whom we have not been able to learn anything 
The volume was in the possession of the late Charles Kirkpatrick Sharpe, Esq. 

8. MACFARLANE'S MSS. — " A Collection of Scotch Airs, with the latest Variations, written for the use of Walter 

M'Farlane of that Ilk. By David Young, W. M. [Writing Master?] in Edinburgh. 1740." 3 vols, folio. 
Belongs to the Society of the Antiquaries of Scotland. The first volume was lent many years ago, and was never 
returned. 

Besides these MSS. there are a few others, which are mentioned by Mr. Dauney, pp. 146, 147, of his Dissertation. 
One, dating about the middle of the eighteenth century ; and another, 1706, in the possession of David Laing, Esq. of 
Edinburgh ; a third, dated 1704, belonging to the Advocates' Library ; and a fourth, 1715, the property of the late Mr. 
Waterston, Stationer in Edinburgh. It is probable that several old muBic-books in Tablature may still be hidden in the 
repositories of old Scottish families of rank ; and we would entreat the possessors of such books to rescue them from 
oblivion and destruction, by sending them to some public library for preservation. We are convinced that many such 
books in Tablature have been lost or destroyed within the last two centuries, through carelessness, and from ignorance of 
their value. 



PRINTED COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. 

1. PLAYFORD'S DANCING-MASTER.— 1657. Mr. Stenhouse, in his Notes on Johnson's Musical Museum, 
refers to this work, and gives several Scottish airs from it. Mr. Laing says, " It passed through several editions, 
but the first, of 1657, is very rare, and is interesting, as perhaps the earliest printed work that exhibits several 
genuine Scottish airs." Introduction to Messrs. Blackwood's edition of Johnson's Museum, p. xxxiv. 

2. D'URFEY'S COLLECTION.— 1720. Sir John Hawkins, in his History of Music, vol. iv. p. 6, says, " There 

ire many fine Scots airs in the Collection of Songs by the well-known Tom D'Urfey, intitled, ' Pills to purge 



XII COLLECTIONS OP ANCIENT AND MODERN SCOTTISH MELODIES. 

Melancholy,' published in the year 1720, which seem to have suffered very little by their passing through the 
hands of these English Masters who were concerned in the correction of that book ; but in the multiplicity of tunes 
in the Scots style that have been published in subsequent collections, it is very difficult to distinguish between the 
ancient and modern." A sixth volume appeared in 1720. 

3. THOMSON'S ORPHEUS CALEDONIUS.— 1725-1733. This is the earliest Collection of Scottish tunes. It 
contains fifty songs with the music, and also the tunes separately arranged for the flute. William Thomson was 
a professional Scottish musician, who went to London from Edinburgh, and attracted attention at Court by his 
pleasing voice and manner of singing Scottish songs, which be accompanied with the harpsichord. It would 
appear that W. Thomson thus brought Scottish airs into vogue in England. In 1733, a new edition of the Orpheus 
Caledonius appeared in two vols. 8vo, each containing fifty songs. 

4. TEA-TABLE MISCELLANY.— About 1726. " Musick for Allan Ramsay's Collection of Scots Songs : Set by 
Alexander Stuart, and engraved by R. Cooper ; Vol. First. Edinburgh, printed and sold by Allan Ramsay." This 
very scarce volume, in five parts, is a small oblong, containing the music of seventy-one songs. 

5. WATT'S MUSICAD MISCELLANY.— 1729-1731 This Collection, in six vols, small 8vo, contains a number of 
Scottish airs and songs. 

6. CRAIG'S COLLECTION.— 1730. "A Collection of the choicest Scots Tunes, adapted for the Harpsichord or 
Spinnet," &c, by Adam Craig. Oblong folio. Craig was a violin-player and teacher of music in Edinburgh, and 
died in October 1741. 

7. MUNRO'S COLLECTION.— 1732. Alexander Munro, a Scotsman, published in Paris a Collection of twelve 

Scottish tunes with variations, adapted to the German Flute. The French Royal Privilege bears date 1732. 

8. JAMES OSWALD'S COLLECTIONS.— 1740-1742. There are three of these Collections ; the first published in 
Edinburgh, and the two others in London. He published also several other volumes, under the name of " The 
Caledonian Pocket Companion," in twelve parts. Oswald was originally a dancing-master in Dunfermline, and 
afterwards came to Edinburgh, where he taught dancing and music. He finally settled in London. His hoaxing 
of the public by ascribing certain Scottish tunes to David Rizzio, Queen Mary's Secretary, has been fully discussed 
in the Notes to " Wood's Songs of Scotland," passim. 

B. WALSH'S COLLECTION.— About 1740. " A Collection of Original Scotch Songs, with a thorough-bass to each 
Song," &c, by J. Walsh, London. This consists of songs published on single leaves, and among them English 
imitations of Scottish songs. 

10. WALSH'S COUNTRY-DANCES.— A Collection, in eight vols., of Scottish dance-tunes then in vogue, but con- 
taining many that are not Scottish. 

1 1 . BARSANTI'S COLLECTION.— 1 742. " A Collection of Old Scots Tunes, with the Bass for Violoncello or Harp- 
sichord," &c, by Francis Barsanti. Edinburgh. Folio, pp. 15. Barsanti %vas a native of Lucca, and born about 
1690. He came to London in 1714, and afterwards to Edinburgh, but returned to London about 1750, where he was 
obliged to seek for subsistence by playing the viola in the Opera and Vauxhall Orchestras, and where he died in 
extreme poverty. 

12. MACGIBBON'S COLLECTIONS.— 1742-1755. William M'Gibbon was a Scottish violin-player of some celebrity 
in his day, and for many years led the Gentlemen's Concert at Edinburgh. He was a pupil of William Corbett, an 
Englishman, then leader of the Opera Orchestra in the Haymarket. M'Gibbon died at Edinburgh, 3d October 1756. 

13. BREMNER'S COLLECTIONS.— 1749-1764. Thirty Scots Songs for a Voice and Harpsichord. Edinburgh, about 

1749. A second Set of Do. Edinburgh. Twelve Scots Songs for a Voice or Guitar, with a Thorongh-Bass 
adapted for that instrument. Edinburgh, 1760. Two Collections of Scots Reels or Country-Dances, witha Bass for 
the Violoncello or Harpsichord. London, 1764 ? A curious Collection of Scots Tunes, with variations, for the Violin 
and a Bass for the Violoncello or Harpsichord. 1759. The Songs in the Gentle Shepherd, adapted to the Guitar. 
1759. Thirty Scots Songs, by Robert Bremner. The words by Allan Ramsay. London. The Freemason's Songs, 
&c. 1759. Robert Bremner died at Kensington, 1 2th May 1789. 

14. BURKE THUMOTH'S AIRS.— About 1760. Twelve Scotch and twelve Irish Airs, with variations, set for the 
German Flute, Violin, or Harpsichord, by Mr. Burke Tliumoth. Vol.1. London. Royal 8vo. A second volume 
was published, containing the same number of airs. 



COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. xiii 

15. GENERAL REID'S MINUETS, &c.,— 1770. A Sett of Minuets and Marches, inscribed to the Right Hon. Lady 
Catharine Murray, by J[ohn] R[eid,] Esq., London ; printed and sold by R. Bremner, in the Strand. Oblong 4to. 
General Reid published also " Six Solos for the German Flute or Violin, with a Thorough-Bass for the Harpsichord, 
by J[ohn] R[eid,] Esq., a Member of the Temple of Apollo. London ; printed for J. Oswald." Oblong folio. 
" A Second Sett of Six Solos," &c. " Captain Reid's Solos." Sold also by Bremner. 

16. CLARK'S FLORES MUSICS.— 1773. " Flores Musics, or the Scots Musician, being a general Collection of the 
most celebrated Scots Tunes, Reels, Minuets, and Marches, adapted for the Violin, Hautboy, or German Flute, with 
a Bass for the Violoncello or Harpsichord. Published the 1st June 1773, by J. Clark, plate and seal engraver, prin- 
ter, &o." Folio, pp. viii. 8vo. This contained twenty-two tunes. The work was advertised to be published in 
20 numbers, but all that is now known of it consists of 82 pages containing 126 tunes, most of them with variations. 

17. LORD KELLY'S MINUETS, &o.— 1774. " The favourite Minuets performed at the Fete Champetre, given by 
Lord Stanley at the Oaks, and Composed by the Right Honourable the Earl of Kelly. London : William Napier, 
Strand." The Earl of Kelly distinguished himself as a violinist and composer. He was the first Scotsman who 
composed overtures for an orchestra. He studied music in Germany under the elder Stamitz, and died at Brussels, 
9th October 1791, in the fifty-first year of his age. Dr. Burney, in his History of Music, (vol. iv. p. 677,) says of 
Lord Kelly : — " He had a strength of hand on the violin, and a genius for composition, with which few professors 
are gifted." 

18. NELL STEWART'S COLLECTIONS.—" Thirty Scots Songs adapted for a Voice and Harpsichord. The words 
of Allan Ramsay. Edinburgh, Book 1st. N. Stewart and Co." — The same, Book 2d — The Bame, Book 3d. " A 
New Collection of Scots and English Tunes, adapted to the Guitar," &c. — About 1760. "A Collection of the 
newest and best Minuets," &c. — About 1770. Contains some of Lord Kelly's Minuets. " A second Collection ol 
Airs and Marches, for two Violins," &c. " A Collection of Scots Songs, adapted for a Voice and Harpsichord," &c 
Folio. About 1790. 

19 DOW'S MINUETS.— About 1775. " Twenty Minuets and sixteen Reels or Country-Dances, for the Violin, 
Harpsichord, or German Flute. Composed by Daniel Dow. Edinburgh," &c. Oblong 4to, pp. 36. " Collection 
of Ancient Scots Music, (Highland Airs,) by Daniel Dow." " Thirty-seven new Reels and Strathspeys for the 
Violin," &c. Edinburgh. About 1770. Oblong folio, pp. 44. Dow was a teacher of music in Edinburgh. 

20. PEACOCK'S AIRS.— About 1776. " Fifty favourite Scotch Airs, for a Violin, German Flute, and Violoncello, 
with a Thorough-Bass for the Harpsichord," &c, &c, by Francis Peacock. London. 

21. MACLEAN'S COLLECTION.— About 1773. " A Collection of favourite Scots Tunes, with variations for the 
Violin, and a Bass for the Violoncello or Harpsichord. By the late Mr. Charles M'Lean, and other eminent 
masters." Edinburgh : N. Stewart. Oblong folio, pp. 37. 

22 M'GLASHAN'S COLLECTIONS.— About 1778. " A Collection of Strathspey Reels, with a Bass for the Violon- 
cello or Harpsichord. By Alexander M'Glashan, Edinburgh. Printed for A. M'Glashan, and sold by Neil Stewart." 
Oblong folio, pp. 34. " A Collection of Scots Measures, Hornpipes, Jigs, Allemands, Cotillons, and the fashion- 
able Country-Dances, with a Bass for the Violoncello or Harpsichord. By Alexander M'Glashan. Edinburgh : 
Neil Stewart." Oblong folio, pp. 36. 

23. CUMMINGS COLLECTION.— 1780. " A Collection of Strathspey or Old Highland Reels. By Angus Cum- 
ming, at Grantown, in Strathspey. Edinburgh, 1780." Oblong folio, pp. 20. 

24. MACDONALD'S HIGHLAND AIRS.— 1781. " A Collection of Highland Vocal Airs, never hitherto published 
To which are added a few of the most lively Country-Dances, or Reels, of the North Highlands and Western Isle9 : 
and some specimens of Bagpipe music. By Patrick M'Donald, Minister of Kilmore in Argyleshire." Edinburgh. 
Folio, pp. 22 and 43. 

25. NEIL GOW'S REELS.—" A Collection of Strathspey Reels, with a Bass for the Violoncello or Harpsichord. By 
Neil Gow, at Dunkeld. N. Stewart, Edinburgh." 

26. NATHANIEL GOW'S COLLECTIONS.— 1799-1824. Six different Collections of Strathspeys and Reels. Edin- 
burgh. Folio. Three volumes of Selections from the three first Collections, with additions. Edinburgh. Folio. 
Four volumes of a Repository of Scots Slow Airs, Strathspeys, and Dances. Edinburgh. Folio. Two volumes of 
Scots Vocal Melodies. Edinburgh. Folio. A Collection of ancient curious Scots Melodies. Edinburgh. Folio 
See Mr. R. Chambers's Biographical Dictionary, Neil and Nathaniel Gow. 



XIV COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. 

27. JOHN AND ANDREW GOW'S COLLECTION of Slow Airs, Strathspeys, and Reels. Folio, pp. 36. 

28. AIRD'S COLLECTION.— About 1784. A Selection of Scotch, &c, Airs, adapted to the Fife, &c. 3 vols, small 

oblong; each containing 200 Airs. Glasgow. 

29. JOHN RIDDELL'S COLLECTION.— A Collection of Scots Reels, Minuets, &c, &c. Composed by John Riddell, 
in Ayr. 2d Edition. Glasgow : James Aird. Oblong 4to, pp. 60. 

30. MACDONALD'S REELS.— About 1786. A Collection of Strathspey Reels, &c. Composed by Malcolm Mac- 
donald. Glasgow : J. Aird. Oblong 4to, pp. 24. In the third volume of Aird's Collection, Malcolm Macdonald is 
called " Violoncello-player to Neil Gow." 

31. CORRI'S COLLECTION. — About 1788. " A new and complete Collection of the most favourite Scots Songs," &c. 
Edinburgh: Corri and Sutherland. 2 thin vols, folio. Contains a portrait of Neil Gow. 

32. NAPIER'S COLLECTIONS.— 1790. " A Selection of the most favourite Scots Songs," &c. By William 
Napier. London. One vol. folio. " A Selection of Original Scots Songs," &c. Harmonized by Haydn. London 
One vol. folio, 1792. A third volume was entered at Stationers' Hall in 1794. 

33. CAMPBELL'S COUNTRY-DANCES.— About 1790. " Campbell's First Book of new and favourite Country- 
Dances and Strathspey Reels," &c. Printed and sold by William Campbell. London. Oblong 4to. Twelve Books. 

34. BRYSON'S COLLECTION.— 1791. " A curious Collection of favourite Tunes," &c. J. Bryson, High Street, 
Edinburgh. 

35. THE MUSICAL MISCELLANY.— 1792. " The Edinburgh Musical Miscellany," &o. Selected by D. Sime. 
Edinburgh : W. Gordon. One vol. 12mo. A second volume, printed for John Elder, Edinburgh, 1793. 

36. GEORGE THOMSON'S COLLECTIONS.— 1793, &c. A particular list of these, furnished by Mr. Thomson him- 
self, will be found in the Introduction to the first volume of" Wood's Songs of Scotland," 1848. Mr. G. Thom- 
son's Collections are now, by purchase, the property of Messrs. Wood and Co., Edinburgh. 

37. MACKINTOSH'S REELS, &c— 1793. " Sixty-eight new Reels, Strathspeys, and Quick Steps," &c. Composed 
by Robert Mackintosh. Printed for the Author. 

38. DALE'S COLLECTION.— 1794. A Collection of Scottish Songs, in 3 Books. 

39. RIDDELL'S COLLECTION.— 1794. " A Collection of Scotch, Galwegian, and Border Tunes," &c. Selected by 

Robert Riddell of Glenriddell, Esq. Edinburgh : Johnson and Co. Folio, pp. 37. " New Music for the Piano- 
forte or Harpsichord," &c, consisting of Reels, Minuets, &c. [By Robert Riddell, Esq.] Edinburgh : James John- 
son. Folio. 

40. RITSON'S COLLECTION.— 1794. Scottish Songs, in two vols. 12mo. London. 

41. URBANI'S COLLECTION.— About 1794. " A Selection of Scots Songs," &c. By Peter Urbani. Edinburgh and 
London. Three vols, folio, 1794-97-99- 

42. THE VOCAL MAGAZINE.— 1797-98-99- Royal 8vo. Edinburgh : C. Stewart & Co. 

43. ROSS'S COLLECTION. — " A Select Collection of ancient and modern Scottish Airs," for the voice, with accom- 

paniments, &c. By John Ross, Organist, St. Paul's, Aberdeen. Edinburgh : John Hamilton. Folio, pp. 62. 

44. WHYTE'S COLLECTION.—" A Collection of Scottish Airs," &c. Harmonized, &c, by Joseph Haydn, Mus 
Doc. Published at Edinburgh by William Whyte. Two vols, folio. 1806. 

45. JOHN ELOUIS' SELECTION of Scots Songs. Two vols, folio. 1806-7. 

46. ARCHIBALD DUFF'S (ABERDEEN) SELECTION of Airs, &c, with Reels, Strathspey, and Country 
Dances. Folio, pp. 50. 1812. 

47. CAPTAIN SIMON FRASER'S COLLECTION of Highland Airs. Folio. Edinburgh, 1816. 

18. ALEXANDER CAMPBELL'S ALBYN'S ANTHOLOGY.— Two vols, folio. Edinburgh, 1816 and 1818. 

49. WALKER AND ANDERSON'S MINIATURE MUSEUM of Scots Songs and Music. 1818. 2 vols. 12mo. 
Edinburgh. 



COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. XV 

50. MARSHALL'S COLLECTION.— One vol. folio. Edinburgh : Alexander Robertson. 1822. 

51. R. A. SMITH'S SCOTTISH MINSTREL. Six vols. 8vo. R. Purdie, Edinburgh. The 6th vol. dated 1824. 

52. POPULAR NATIONAL MELODIES.— Adapted for the Pianoforte. By James Dewar. Six Numbers, folio. 
Alexander Robertson, Edinburgh. About 1826. 

53. DAVIE'S CALEDONIAN REPOSITORY of the most favourite Scottish Slow Airs, Marches, Strathspeys, Reels, 
Jigs, Hornpipes, &c, &c. Expressly adapted for the Violin. In four Books, oblong 8vo. Wood and Co., 
Edinburgh. 1829. 

54. D. M'EERCHER'S (DUNKELD) COLLECTIONS (3) of Strathspeys and Reels. Edinburgh, 1830, et seq. Folio. 

55. THE VOCAL GEMS OF SCOTLAND. — Arranged with new and appropriate Symphonies and Accompaniments 
for the Pianoforte. By J. M. Muller. In two vols, folio. Wood and Co., Edinburgh. 1837-1839. 

56. DUN AND THOMSON'S COLLECTION.— New edition of the Vocal Melodies of Scotland, arranged with 
Symphonies and Accompaniments for the Pianoforte. By Finlay Dun and John Thomson. Published by Pater- 
son and Roy, Edinburgh. This Collection consists of four vols, folio, each containing thirty-six songs. First vol. 
published in 1837. 

57. JOHNSON'S SCOTS MUSICAL MUSEUM.— New Edition, with notes. Six vols. 8vo. Blackwoods, Edinburgh, 
1839. 

58. JAMES DANIEL'S COLLECTION of Airs, Strathspey Reels, &c. Aberdeen, 1840. Folio, pp. 39. 

59. THE DANCE MUSIC OF SCOTLAND.— A Collection of all the best Reels and Strathspeys, both of the High- 
lands and Lowlands, arranged for the Pianoforte. By J. T. Surenne. In one volume, folio. AVood and Co., 
Edinburgh, 1841. 

60. THE GARLAND OF SCOTIA, &c— The Airs are for Voice, Flute, or Violin. One vol. 8vo. Glasgow : William 
Mitcbison. 1841. 

61. WILSON'S SONGS OF SCOTLAND.— Eight Books, folio. 1842. 

62. VOCAL MELODIES OF SCOTLAND.— Arranged for the Pianoforte, with an Accompaniment for the Flute 
and Violoncello, (ad libitum) By Alfred Devaux. Six Books, folio. London : Cramer and Co. Edinburgh . 
Paterson and Roy. 1842. 

63. GEMS OF SCOTTISH MELODY.— With new and appropriate Symphonies and Accompaniments for the Piano- 
forte. Edited by W. Montignani. One vol. 4to. T. and W. MDowall, Edinburgh. 1844. 

C4. LOWE'S COLLECTION of Reels, Strathspeys, and Jigs, being a new and complete Selection of the best Dancing 
Tunes in their proper keys, carefully arranged with appropriate basses for the Pianoforte and Violoncello. In six 
Books, folio. Paterson and Roy, and Wood and Co., Edinburgh. 1844-45. 

65. WOOD'S SONGS OF SCOTLAND.— Edited by G. F. Graham. Three vols, royal 8vo. Edinburgh : Wood and Co 
1848-49. 

66. ORAIN NA'H ALBAIN. — A Collection of Gaelic Songs with English and Gaelic words, and an Appendix 
containing traditionary notes to many of the Songs. The Pianoforte accompaniment arranged and revised by 
Finlay Dun. One vol. folio. Wood and Co., Edinburgh, &c, &c. 1848. 

67. HAMILTON'S SELECT SONGS OF SCOTLAND.— Folio. Glasgow, 1848. 

68. LAYS FROM STRATHEARN.— By Caroline, Baroness Nairne, &c, arranged, &c, for the Pianoforte by Finlay 
Dun. One vol. folio. London : Addison and Co. Edinburgh : Paterson and Roy, and J. Purdie. 1850. 

69. NAPIER'S SELECTION of Dances and Strathspeys. London. Folio, pp. 36. 

70. JOHN HAMILTON'S COLLECTION of Strathspeys and Reels. Edinburgh. Oblong 4to. Caledonian Museum. 

Three books. Edinburgh. 

71. JOHN MTNTYRE'S COLLECTION.— Edinburgh. Folio, pp. 40. 

72. DONALD GRANT'S COLLECTION.— Edinburgh. Folio, pp. 38. 



XVI COLLECTIONS OF ANCIENT AND MODERN SCOTTISH MELODIES. 

73. ISAAC COOPEE OP BANFF'S COLLECTION. 

74. T. H. BUTLER'S SELECT COLLECTION of Scottish Airs with Accompaniments. Edinburgh: Muir, Wood, 
and Co. 

75. GEORGE JENKINS' COLLECTION of Scottish Slow Airs and Dance Music. Folio, pp. 70. 

76. JOHN CLARK'S (OF PERTH) COLLECTION of Strathspey Reels and Country-Dances. Folio, pp. 21. 

77. JAMES WALKER'S (OF DYSART) COLLECTIONS (2) of Reels, Strathspeys, Jigs, &c. Folio. 

78. JOHN GUNN'S THIRTY FAVOURITE SCOTCH AIRS, for Violin, Flute, or Violoncello. Folio. London. 

79. DOMENICO AND NATALE CORRI'S SELECT COLLECTION of forty Scots Songs, with Accompaniments, 
&c. ; 4th Edition. Edinburgh. 

80. JOSHUA CAMPBELL'S COLLECTION of New Reels and Strathspeys. Glasgow. Folio, pp. 48. Collection 

of Favourite Tunes with Variations, for Violin, &c. Glasgow. Royal 8vo, pp. 81. 

81. JOHN ALEXANDER MAY'S SELECTION of Songs, &c, for German Flutes. Glasgow. Oblong royal 8vo. 

pp. 120. 

82. J. M'FADYEN'S REPOSITORY of Scots and Irish Airs, Strathspeys, &c, for two Violins and Bass. Oblong 
royal 8vo, pp. 128. 

83. CHARLES DUFF'S (DUNDEE) COLLECTION of Strathspey Reels, &c. Folio, pp. 36. 

84. ABRAM MACINTOSH'S Thirty new Strathspey Reels, &c. Edinburgh. Folio, pp. 11. 

85. ALEXANDER LEBURN'S (AUCHTERMUCHTY) COLLECTION of Strathspey Reels, &c. Edinburgh. 
Folio, pp. 12. 

86. WILLIAM CHRISTIE'S (CUMENSTOWN) COLLECTION of Strathspey Reels, &c. Edinburgh. Folio, 
pp. 40. 

87. DANIEL ROBERTSON'S COLLECTION of Reels, Strathspeys, &c. Edinburgh. Folio, pp. 26. 

88. ALEXANDER MACKAY'S (ISLAY) COLLECTION of Reels, Strathspeys, &c. Glasgow. Folio, pp. 36. 

89. WILLIAM MORRISON'S COLLECTION of Strathspeys, Reels, &c. Inverness. Folio, pp. 36. 

90. ROBERT PETREE'S (AT KIRKMICHAEL) COLLECTIONS (4) of Strathspey Reels, &c. Edinburgh and 

London. Folio. 

91. MALCOLM M'DONALD'S (DUNKELD) COLLECTIONS (4) of Strathspey Reels, &c. Folio. Edinburgh. 

92. JOHN BOWIE'S (PERTH) COLLECTION of Strathspey Reels, &c. Edinburgh. Folio, pp. 35. 

93. WILLIAM SHEPHERD'S COLLECTION of Strathspey Reels, &c. Edinburgh. Folio, pp. 26. 

94. ROBERTMACKINTOSH'S COLLECTIONS (4) of Airs, Reels, Strathspeys, &c. Edinburgh and London. Folio. 

95. JOHN MORRISON'S (OF PETERHEAD) COLLECTION of Strathspeys and Reels. Folio, pp. 23. 

96. JAMES PORTEOUS' COLLECTION of Reels and Strathspeys. Edinburgh. Folio, pp. 40. 

97. THE CALEDONIAN MUSEUM, &c, for the Flageolet, Flute, or Violin. Three Books, oblong 4to. Edinburgh : 

Alexander Robertson. 



Vc te.— To Mi'. A.J. Wighton of Dundee, who possesses an extensive collection of printed Scottish Music, we are indebted for 
the titles of some of the works contained in the above List. G. F. G 



INDEX 



THE DANCE MUSIC OF SCOTLAND. 







PAGE 






PAOB 


Amulree, 


Reel 


38 


Fair fa' the Minstrel, 


Reel 


38 


An fhir'ghrunig, 


Reel 


121 


Fight about the Fireside, 


Reel 


31 


As a thoiseacli, . 


Reel 


133 


Fill the Stoup, . 


Reel 


50 


Athole House, . 


Reel 


69 


Floors Castle, 


Reel 


118 


Ben Lomond, 


Strathspey 


72 


General Wemyss, 


Strathspey 


94 


Ben Nevis, 


Strathspey 


86 


Gillie Callum, . 


Reel 


139 


Black but comely, 


Reel 


159 


Giornovichi, 


Reel 


66 


Bonnie Annie, 


Reel 


114 


Glen Lyon, 


Reel 


161 


Borlum's Ra.pt, . 


Reel 


141 








Brechin Castle, . 


Strathspey 


4 


Harvest Home, . 


Strathspey 


144 


Brodie House, 


Reel 


127 


Highland Whisky, 


Strathspey 


148 


Brown's Reel. 


Reel 


36 


Hilton Lodge, 


Strathspey 


96 


Cairngorm, 


Reel 


163 


I'll gang nae mair to yon Toun, 


Reel 


57 


Callam Shiarghlas, 


Strathspey 


124 








Cameron's Wife, 


Strathspey 


122 


Jenny dang the Weaver, 


Reel 


27 


Captain Byng, . 


Reel 


98 


Jockey Latin, 


Reel 


95 


Captain Keeler, . 


Reel 


42 


John Cheap the Chapman, 


Reel 


35 


Captain Kennedy, 


Reel 


16 


Johnnie's friends are ne'er pleased, 


Reel 


20 


Captain Macduff, 


Reel 


61 


Johnnie made a wedding o't, 


Reel 


136 


Captain Pringle of Yair, 


Strathspey 


92 


John Roy Stewart, 


Strathspey 


130 


Cawdor Fair, 


Reel 


81 


John Stewart, 


Reel 


66 


Charlie Stuart, . 


Reel 


9 








Cheap Meal, 


Reel 


163 


Keep it up, 


Reel 


133 


Clydeside Lasses, 


Reel 


3 


Kincaldrum, 


Reel 


82 


Coilantogle, 


Strathspey 


98 








Colonel M'Bain, 


Reel 


6 


Lady Ann Stewart, 


Strathspey 


74 


Corimonie's Rant, 


Strathspey 


136 


Lady Baird, 


Strathspey 


142 


Coutie's Wedding, 


Strathspey 


90 


Lady Betty Boyle, 


Reel 


68 


Cuttymun an' Treeladle, 


Reel 


153 


Lady Binning, . 


Strathspey 


42 








Lady Charlotte Campbell, 


Strathspey 


30 


Daintie Davie, 


Strathspey 


102 


Lady Charlotte Campbell, 


Strathspey 


84 


Dalkeith House, 


Reel 


83 


Lady Charlotte Campbell, 


Reel 


85 


Dairy House, 


Strathspey 


76 


Lady Doune, 


Strathspey 


52 


Delvin House, 


Reel 


97 


Lady Dumfries, . 


Reel 


45 


Delvin Side, 


Strathspey 


106 


Lady Elizabeth Lindsay, 


Strathspey 


58 


Donald Dow, 


Strathspey 


44 


Lady Grace Douglas, 


Reel 


104 


Don Side, 


Strathspey 


132 


Lady Gwydyr, . 


Strathspey 


160 


Duchess' Slipper. 


Strathspey 


68 


Lady Harriet Hope, 


Reel 


32 


Duillater House, 


Reel 


36 


Lady Lucy Ramsay, 


Strathspey 


64 


Dunrobin Castle, 


Reel 


109 


Lady Mackenzie of Coul, 


Strathspey 


154 


Dunse dings a', . 


Reel 


99 


Lady Madelina Sinclair, 


Strathspey 


40 








Lady Madelina Sinclair's Birth-day, 


Reel 


34 


Earl Marischal, 


Reel 


67 


Lady Margaret Stewart, 


Reel 


106 



XV111 



INDEX TO THE DANCE MUSIC OF SCOTLAND. 







PAGE 






PAGB 


Lady Mary Dundas, 


Reel 


103 


Mrs. Garden of Troup, . 


Strathspey 


18 


Lady Mary Ramsay, 


Strathspey 


26 


Mrs. M'Donald of Clanranald, 


Reel 


154 


Lady Mary Stopford, 


Reel 


39 


Mrs. Macleod of Rasay, 


Reel 


11 


Lady Montgomery, 


Reel 


5 


Mrs. Moray of Abercairney, 


S trathspey 


134 


Lady Shaftesbury, 


Strathspey 


14 


Mrs. Rachel Gibson, 


Reel 


92 


Lady Susan Harriet Ker, 


Reel 


124 


Mrs. Robertson of Alexandria, 


Strathspey 


128 


Lamberton Races, 


Reel 


101 


Mrs. Scott Moncrieff, 


Reel 


123 


Lennoxlove to Blantyre, 


Reel 


2 


Mrs. Wilson, 


Reel 


140 


Lieutenant Colonel Baillie of Le; 


7S, Strathspey 


162 








Loch Earn, 


Reel 


24 


New Christmas, 


Reel 


26 


Lord Alexander Gordon, 


Strathspey 


116 


Niel Gow, 


Strathspey 


20 


Lord Dalhousie, . 


Reel 


12 


Niel Gow's Recovery, 


Strathspey 


110 


Lord Doune, 


Strathspey 


104 


Niel Gow's Wife, 


Strathspey 


34 


Lord Kelly, 


Reel 


146 








Lord Macdonald, 


Reel 


84 


O but ye be merry, 


Reel 


77 


Lord Macdonald, (Old Set,) 


Reel 


116 


O mither, ony bodie but the duddy 




Lord Moira, 


Strathspey 


164 


Blacksmith, . 


Reel 


116 


Lord Ramsay, . 


Strathspey 


56 


O she's comical, 


Reel 


77 


Lord Seaforth, . 


Strathspey 


80 


Ossian's Hall, 


Reel 


134 


Marry Eetty, 


Strathspey 


118 


Panmure House, 


Strathspey 


138 


Mart do chro 'a Mheinanich, 


Reel 


33 


Pease Strae, 


Reel 


117 


Mary Gray, 


Reel 


122 


Pretty Pegg, 


Reel 


87 


Master Francis Sitwell, . 


Strathspey 


16 








Merry Lads of Ayr, 


Reel 


7 


Rachel Rae, 


Reel 


145 


Miss Ann Stewart, 


Reel 


110 


Ratha Fair, 


Reel 


4 


Miss Baird of Saughton Hall, 


Reel 


102 


Rory Macnab, . 


Reel 


143 


Miss Charlotte Ross, 


Reel 


93 








Miss Charlotte Stewart, 


Reel 


78 


Sally Kelly, 


Reel 


21 


Miss Drummond of Perth, 


Strathspey 


28 


Sanders Brane, . 


Strathspey 


78 


Miss Douglas, . 


Reel 


119 


Sandy o'er the lea, 


Reel 


88 


Miss Dumbreck, 


Reel 


49 


Sir Alexander Don, 


Strathspey 


100 


Miss Flora M'Donald, . 


Reel 


29 


Sir David Hunter Blair, 


Reel 


8 


Miss Forbes, 


Reel 


100 


Sir George Mackenzie of Coul, 


Reel 


137 


Miss Georgina Scott, 


Reel 


151 


Sir Ronald M'Donald, 


Reel 


130 


Miss Gibson, 


Reel 


15 


Sleepy Maggie, . 


Reel 


03 


Miss Grieve of Howdan, 


Strathspey 


114 


Struan Robertson's Rant, 


Strathspey 


62 


Miss Hamilton of Bangowr, 


Strathspey 


108 


Stumpie, 


Strathspey 


88 


Miss Hope, 


Strathspey 


82 








Miss Hopkins, . 


Reel 


53 


Taymouth Castle, 


Reel 


91 


Miss Jane Stewart, 


Reel 


147 


The Argyle Bowling-Green, 


Reel 


71 


Miss Jessie Stewart, 


Reel 


54 


The Auld Stewarts back again. 


Reel 


74 


Miss Johnston, . 


Reel 


65 


The Ayrshire Lasses, 


Strathspey 


24 


Miss Lyal, 


Strathspey 


138 


The Back of the Change House, 


Reel 


23 


Miss Mary Anne Robertson, 


Reel 


129 


The Banks of Spey, 


Reel 


142 


Miss Maule of Panmure, 


Reel 


96 


The Boatman of Pitnacree, 


Reel 


48 


Miss Nisbet of Dirleton, 


Reel 


94 


The Bobers o' Brechin, . 


Reel 


160 


Miss Ramsay, 


Reel 


120 


The Braes of Mar, 


Reel 


157 


Miss Rose of Tarlogie, . 


Reel 


158 


The Braes o' Tullymet, . 


Strathspey 


12 


Miss Ritchie, 


Reel 


125 


The Bridge of Bracklin, 


Reel 


70 


Miss Stewart of Garth, . 


Reel 


149 


The Bridge of Perth, 


Reel 


51 


Miss Wedderburn, 


Reel 


76 


The Bridge of Turk, 


Reel 


73 


Miss Whiteford, . 


Reel 


55 


The Cameronian Rant, . 


Reel 


79 


Monro's Rant, . 


Strathspey 


158 


The Circus, 


Reel 


128 


Monymusk, 


Strathspey 


8 


The Countess of Elgin, 


Reel 


135 


Mr. Menzies of Culdares, 


Reel 


148 


The Countess of Haddington, 


Reel 


108 


Mr. Moray of Abercairney, 


Strathspey 


146 


The Countess of Loudon, 


Strathspey 


2 


Mr. Robertson of Lude, . 


Strathspey 


152 


The Countess of Sutherland. 


Reel 


19 


Mrs. Adye, 


Strathspey 


54 


The Deil amang the Tailors, 


Reel 


28 


Mrs. Alexander Brodie, 


Reel 


162 


The Diamond, 


Reel 


46 


Mrs. Baird of Newbyth, 


Strathspey 


150 


The Drummer, . 


Reel 


17 


Mrs. Compton of Carham-Hall, 


Reel 


86 


The Duchess of Athole, . 


Strathspey 


68 


Mrs. Drummond of Logiealmonci 


, Reel 


155 


The Duchess of Gordon, 


Strathspey 


22 



INDEX TO THE DANCE MUSIC OP SCOTLAND. 



XIX 



The Duchess of Gordon, 


Strathspey 


PAGK 

CO 


The Marquis of Huntly's Farewell, 


Strathspey 


PAGE 

48 


The Duchess of Hamilton, 


Strathspey 


120 


The Marquis of Huntly, 


(Highland 






The Duchess of Manchester, 


Strathspey 


156 


Fling,) 




Strathspey 


10 


The Duchess of Roxburghe, 


Reel 


1 


The Marquis of Tullybardine, . 


Reel 


115 


The Duke of Gordon's Birth-day, 


Strathspey 


38 


The Mason's Apron, 




Reel 


22 


The Duke of Perth, 


Reel 


25 


The Merry Lads of Foss, 




Reel 


152 


The Duke of Eoxburghe, 


Reel 


40 


The M'Farlane Rant, . 




Reel 


43 


The Earl of Breadalbane's Hermitage, 


Reel 


107 


The Miller of Drone, 




Strathspey 


50 


The Earl of Dalkeith, . 


Reel 


150 


The Mullin Dhu, 




Reel 


138 


TheEarlofEglinton, 


Reel 


131 


The Nine Pint Coggie, . 




Reel 


132 


The Earl of Loudon, 


Strathspey 


140 


The North Bridge of Edinburgh, 


Strathspey 


70 


The Fife Hunt, . 


Reel 


18 


The Old Man, . 




Reel 


72 


The Fisher's Wedding, . 


Reel 


112 


The Parks of Fochabers, 




Reel 


44 


The Fox Chase, . 


Reel 


89 


The Perthshire Hunt, . 




Reel 


62 


The Fyket, 


Reel 


75 


The Pirriwig, 




Reel 


121 


The Gathering, . 


Reel 


13 


The Reel of Bogie, 




Reel 


47 


The Glasgow Lasses, 


Reel 


113 


The Reel of Thulicban, . 




Reel 


90 


The Haughs of Cromdale, 


Strathspey 


112 


The Reel of Tulloch, 




Reel 


90 


The Highlandman, 


Reel 


37 


The Reticule, 




Reel 


59 


The Highland Skip, 


Reel 


111 


The Royal Recovery, 




Strathspey 


32 


The High Road to Linton, 


Reel 


10 


The Stewarts' Rant, 




Reel 


60 


The Houourable Captain Maitland, 


Strathspey 


46 


The Whigs of Fife, 




Reel 


126 


The Honourable Colonel Wemyss, 


Reel 


156 


The Wind that shakes the 


Barley, 


Reel 


41 


The Honourable Miss Charteris, 


Reel 


105 


The Yetts of Muckart, . 




Strathspey 


126 


ThelsleofSkye, 


Reel 


14 


Thro' the Wood of Favie, 




Reel 


64 


The Keel Row, . 


Reel 


144 


Thro' the Wood she ran, 




Reel 


58 


The'Kirn, 


Strathspey 


144 


Tilt-Side, 




Reel 


24 


The Lass of Ballantrae, 


Reel 


52 


Torry Burn, 




Reel 


30 


The Marquis of Beaumont, 


Reel 


80 


Tullochgorum, . 




Strathspey 


6 


The Marquis of Hastings, 


Strathspey 


164 










The Marquis of Huntly, 


Strathspey 


36 


Willie Winkie, . 




Strathspey 


66 



THE DANCE MUSIC OF SCOTLAND. 



NOTE. 

It will be observed that the tunes are in general arranged in sets of three, a Keel, Strathspey, and 
Reel, this being the succession in which they are usually performed. A chord has been added at the end 
of those sets where the last tune does not finish in the key ; this is of course to be played once only, at 
the close of the dance. 

As there are but two distinct movements throughout the work, the Editor has deemed it unneces- 
sary to aflix the Metronome mark to each tune. 

I 
The movement of the Reel is d = 126 Maelzel. 

that of the Strathspey is e) = 94 Maelzel. 

i 
i 

The only exception to this is the Reel of Thulican, or Tulloch, the time of which is d = 120. 



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SIR DAVID 1CUNTER BLAIR. 



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THE HIGH KOAD TO LINTON. 



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THE DANCE MUSIC OF SCOTLAND. 



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CAPTAIN KENNEDY. 



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17 




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19 



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20 



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JOHNNIE'S FRIENDS ARE NE'ER PLEASED. 



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21 



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THE MASON'S APEON. 



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25 



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THE DANCE MUSIC OF SCOTLAND. 



THE DEIL AMANG THE TAILOES. 



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53 






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60 



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MISS ANN STEWART. 






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THE DANCE MUSIC OF SCOTLAND. 



BONNIE ANNIE. 



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115 



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THE DANCE MUSIC OF SCOTLAND. 



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118 



THE DANCE MUSIC OF SCOTLAND. 



FLOOKS CASTLE. 



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120 



THE DANCE MUSIC OP SCOTLAND. 



MISS EAMSAY. 



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122 



THE DANCE MUSIC OF SCOTLAND. 



MAEY GRAY. 



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LADY SUSAN HARRIET KER. 



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